.Miró - from 1950 to 1970

Miró's work is so vast that I present it in several articles. Here I offer, chronologically, my favorites among his creations between 1950 and 1970.

The question can be read in the look of Joan Miró in this photo by Michel Sima, taken in 1950.

1952

“The red disk chases Alouette”, 1953. The poetry that Miró gave to his works testifies to his friendship for Jacques Prévert. It’s really the universe that I love.

1956

Joan Miró photographed by Brassaï in his studio in 1955.

1956

Stencil from 1956 and adorned the “XXe Siècle” magazine published in Paris by Gualtieri di San Lazzaro.

"Black child dish", ceramic 1956.

1956

Frankly, we are always surprised with Joan Miró and this wood engraving, “A tous Epreuve” from 1958.

“Morning Rain in the Moonlight”, 1958.

“Full proof”, engravings by Joan Miró, with a text by Paul Eluard, 1958.

1963

All the techniques attracted Miró. Genius of engraving, but also tireless creator in ceramics, with his friend Pepito Artigas. Cover plate for DU magazine, 1963.

1965

"Red circle, star"

"The Prophet, the Night"

1966

1967

Miró was like my favorite “uncle” to me. Always attentive and caring. I wouldn't let go! I am 7 years old in this photo and we are at the Maeght Foundation where Duke Ellington came one afternoon.

We listened to his improvisation on the piano accompanied by his musicians. There is no audience, just us, the family. Every year, Miró spends several months with my grandparents. So that he could work, because he couldn't live without it, Grandpa made a beautiful engraving workshop. From there his most beautiful engravings will emerge. Miró loves this proximity to nature, he wants to see if his works “resist” this beauty.

1968

Catalog of the Joan Miró exhibition at the Maeght Foundation in 1968, cover, of course, produced by the artist in original lithograph. The Maeght foundation owns 275 works by Miró including 8 large paintings, 160 sculptures, 73 watercolors, gouaches and drawings on paper, a monumental tapestry, an important stained glass window integrated into the architecture, 28 ceramics, as well as monumental works created especially for the garden-maze. To which are added the hundreds of engravings, lithographs and bibliophile works enhanced with drawings and prints. All these masterpieces were donated to the foundation jointly by Joan Miró and my grandparents. It is thanks to their unparalleled generosity that a fabulous heritage has been created, unique in France, a privileged place to better share the dreams of Joan Miró.
In 1968, four years after the opening of the Maeght Foundation, my grandfather entrusted Joan Miró, to celebrate the artist's 75th birthday, to take over all of the rooms. Miró is there, relaxed despite the stakes, in a polo shirt, in the center in front of journalists curious about contemporary art. You have to imagine what this represented at the time, finally large walls, spaces for his immense sculptures or ceramics, like those here on the right, because the Center Pompidou does not yet exist - It will open in 1977, 13 years after the Maeght Foundation which served as a model. Indeed, the Foundation is: A permanent collection, ephemeral exhibitions, a library, artists' workshops, music integrated with the Nights of the Foundation and above all a contemporary building designed to be dedicated to art (the first in France, previously, we used or rehabilitated existing places, Jeu de Paume, Palais de Tokyo, Orangerie, etc.)

“Woman and Birds”, 1968. I have always been fascinated by the audacity of Miró who, like here, at the age of 75, dares to tackle a 2m high canvas. He had extreme mental strength.

Joan Miró by his friend Francesc Catala-Roca, 1968. Joan Miró in all simplicity in the courtyard of the Maeght Foundation, near one of his sculptures.

1969

The book La Saga Maeght by Yoyo Maeght, with dedication. Link here